THE CUBISTS AND THEIR CIRCLE
Today Pablo Picasso (1881-1973) and Georges Braque (1882-1963) are considered to be the “True Cubists,” to borrow a phrase from art historian, Edward Fry. But at the time Cubism was famous or infamous with the Parisian public, from 1910 to 1914, “Cubism” meant the Salon Cubists. To the art audience, the “Cubists” were those artists who showed and exhibited publicly in the large Salon exhibitions in Paris and in other European capitals. Because these were the artists who exhibited, those were the artists and the art works referred to when the art reviews were published in the mainstream press.
To the writers in the know and to the avant-garde artists, Picasso was the acknowledged leader of Cubism and possible source of inspiration for the Salon Cubists, with Braque being a shadowy figure, mentioned only occasionally by the art press. Protected by their art dealer, the German expatriate, Daniel-Henry Kahnweiler (1884-1979), Braque and Picasso were supported financially and were able to work out their own version of “Cubism” in the privacy of their individual studios and display the results privately in Kahnweiler’s unadvertised gallery, far from the madding crowds of the Salons.
Who were the Salon Cubists? These artists, some sculptors but mostly painters, were a varied and complex group, strongly influenced byPaul Cézanne and dedicated to producing an avant-garde art which also maintained the French tradition of structure, clarity, logic, balance and classicism, as seen in French art from Poussin to Chardin. These artists were not really interested in so-called “primitive art,” nor do they go through the phases or periods of Cubism as Picasso and Braque did. They cannot be said to have had an Analytic Period or a Synthetic Period, and these artists did not have a great interest in collage, developed by the “true Cubists.” Thoroughly conventional and bourgeois, they lived in the suburbs around Paris, Purteaux and Corbevoie. Only Jean Metzinger (1883-1956) lived in the more bohemian environs of Montmartre, near Picasso and Braque.
The extent of the interchanges and mutual influence between the Salon Cubists and the “True Cubists” is difficult to determine. Albert Gleizes (1881-1953), Metzinger’s co-author of Du Cubisme, published 1912, did not meet Picasso until 1911, for example. By then, public or Salon Cubism was well underway. Nevertheless, it is good to remember that avant-garde art, by this time, had become an international phenomenon and avant-garde was exhibited and exchanged globally. These artists were in close touch with the Futurist artists and Russian art collectors were in contact with Picasso and Braque. French art traveled to other capitals in Europe and the Futurists chose to make their biggest splash in Paris. The 1913 Armory Show in New York rocked New York City, rattling the sensibilities of the provincials. Despite the rapid diffusion of ideas and styles, groups of artists and individual artists, can be clearly distinguished, for each maintained his/her national or personal characteristics.
The Salon Cubists included Albert Gleizes, Jean Metzinger, who based their version of Cubism upon the ideas of Cézanne, which the authors of Du Cubisme understood as examining that which was seen through multiple points in time and space. Like the Cubists who showed in the Salons, they were not adverse to color. In fact, the so-called Orphists, Robert Delaunay, Sonia Terk-Delaunay, Frank Kupka, and, sometimes Francis Picabia based their brightly colored art on the notion that color, like music, could transcend into abstraction.
The grouping of the Salon Cubists, such as, Andre Lhote, Auguste Hebrin, Louis Marcoussis, and Roger de la Fresnaye (1885-1925) and Marie Laurencin, etc. into sub groups was imaginary and artificial, the product of the art critic, Guillaume Apollinarie. Fernand Léger showed publicly for a time and then, with the Spanish follower of Picasso, Juan Gris, later became part of Kahnweiler’s group of Cubists. Completing the Cubists who showed in the Salons were the Duchamp Family, the painter, Jacques Villon, the sculptor, Raymond Duchamp-Villon (who died in the Great War) and Marcel Duchamp, who stopped painting in 1913, and the painter, Suzanne Duchamp.
Historians will later accord Léger and Gris a place of prominence in Cubism, largely due to Kahnweiler’s historical account of “his true Cubists” in Der Weg zum Kübismus. (The Rise of Cubism, 1915). It should be noted that Kahnweiler was reluctant to include “his” artists with the Salon Cubists and was very negative towards the very word, “Cubism.” During the peak years of Cubism, 1910-1914, the number of “Cubists” was substantial; after the Great War, the artists were ranked as “major” or “minor.” This ranking was done after the fact by the first historians of Cubism who were art dealers supporting the artists in their stables.
Like the art world itself, the circles of art writers was divided among the conservative and the radical and those in between. During the early Twentieth Century, the close ties between avant-garde artists and writers, forged in the previous century, persisted. And, as before, the art critics were also serious poets and novelists in their own right. The artists and writers were a close-knit community and the writers supported “their” artists in newspapers and journals. Often the writer would publish art reviews in mainstream newspapers with a general art audience and then write more substantive commentary for the journals, often short-lived petites revues.
Adventurous small publishers were willing to take a chance and even produce books on controversial art. It is important to note that the contents of these early writings, published before the Great War, were usually generalized, referring mostly to the Salon Cubists. After the War, these books were re-read and interpreted from the standpoint of a post-War re-evaluation of the Cubist artists. Readers tended to assume, incorrectly, that the writers were discussing Picasso and Braque, but these primary sources need to be read carefully, for those two artists were seldom directly discussed.
“Cubism” usually designated the public Salon manifestations of Cubist art, created by the Salon Cubists. Those who supported Cubism and who wrote important early books on these artists include the poets, Guillaume Apollinaire, André Salmon, and Maurice Raynal. The well-known critic-biographer, André Warnod, also weighed in, writing in Comedia. Other critics, such as Louis Vauxcelles and Arsène Alexandre, spoke against Cubism but were important supporters of Post-Impressionists, a group of artists still relatively unknown to the art audience, and favored art from non-Western countries. The main site of Cubism in America, where avant-garde art had a small audience and collector base, was the vanguard gallery owned by the photographer, Alfred Stieglitz. The legendary 291 hosted the cutting edge art from Paris and the gallery’s publication, Camera Work, published some of the first writings of Gertrude Stein, discussing Matisse.
Shortly before Apollinaire published The Cubist Painters in 1913, Gelizes and Metzinger published On Cubism in 1912. André Salmon, the poet-critic who had written of the mysterious painting, Les Demoiselles d’Avignon and was a strong supporter of Picasso, wrote Young French Painting, also in 1913. In her 2006 book on Cubism, Anne Ganteführer-Trier, stated that Picasso was concerned that Salmon was neglectful of Braque. “He treats you with great injustice,” Picasso wrote to his partner. Perhaps of less interest to Picasso was the book written in 1914 by the American author, Arthur Jerome Eddy, Cubism and Post-Impressionism. With the exception of the writings of Apollinaire, who reproduced black and white photographs of Cubist collages in his book, Les Soirées de Paris, written in the same year, the sources of the ideas of Cubism would have almost certainly come from the Salon Cubists.
If one accepts that the main source of writings on Cubism were the Salon Cubists, then the lack of writing on the collages is explained. Apollinaire commented without explanation, that Picasso dissected like a “surgeon,” almost certainly a reference to the constructions. Most of the writing on Cubism centered on the multiplicity of viewpoints, the destruction of classical Renaissance perspective and the resulting fragmentation of forms. There were erudite references to poorly understood ideas that were floating about Montmartre, such as the Fourth Dimension or the dimension of time, but these appropriations were used, as Maurice Raynal later disclosed, less to explain Cubism and more to sell the new style as a serious movement in modernism.
The Salon Cubists: “The Cubist Heroes”
The Salon Cubists-to-be looked at Paul Cézanne, now widely available in various gallery retrospectives, especially those at the Salon d’automne in 1904 and 1906. It would not be an exaggeration to state that these exhibitions changed the direction of French avant-garde art, putting and end to Fauvism and making the beginning of Cubism. Cézanne’s attempt to go beyond the limitations of one-point perspective in depth, invented during the Renaissance. The result was what appeared to be distortions of space and form in his paintings, which provided much food for thought. Cézanne had also suggested that nature could be reduced to basic shapes—the cone, the cylinder and the sphere, thus introducing a certain basic geometry as the basis for creating form. But, far from being a disrupter of tradition, Cézanne’s investigations were a sincere and life long effort on his part to turn Impressionism into something solid, something fit for museums.
Avant-garde artists were searching for a new means of expression in a new age. This search was thwarted by the Academy, the art schools, which taught an official and accepted and acceptable art and insisted on continuing tradition. To the avant-garde artists, the academic formulas were now worn out and should be shed. But it is important to make a distinction between overworked visual conventions and a respect for past art. The Salon Cubists seem to have shared Cézanne’s need to innovate and to search for new answers, but they shared his adherence to the classical French tradition. For Cézanne, the classical meant the clean and simple structure of Poussin, and he objected to the supposed lack of composition rigor in Impressionism. Like Cézanne, the Salon Cubists always looked back to the masters of French painting.
Like Cézanne, the Salon Cubists turned their backs on the Impressionists but for different reasons. The Cubists objected to the passivity of the Impressionists who, they charged were too simple minded, too optically orientated. There was more to nature than merely recording the shifts of light and the changes of color—there was structure and form and solidity that were, paradoxically, broken by the mobility of vision. However, as was mentioned previously, the Salon Cubists did not follow the logic of Cézanne into the dissolution of form itself. The art of Cézanne provided a kind of stylistic armature, a sort of grid or network from which the Salon Cubists could “hang” or organize their subjects.
The results of their studies became visible from 1910 on when the Salon Cubists began appearing publicly as a group, hung in particular rooms of the major avant-garde salons, the Salon des Indépendants and the Salon d’Automne. Some had been working independently until then and became aware of each other in the Salon context. By October 1912, these Salon Cubists had their own exhibition, called the Section d’Or exhibition at the La Boétie Gallery. Although this was the year Picasso and Braque, working privately, developed Synthetic Cubism, the Salon Cubists continued their version of Cubism as an extension of Cézanne. The public considered with art very radical and shocking and, because of public ridicule and critical opposition, these were the artists who became the true “heroes” of Cubism. However, art history would, after the Great War, re-name them the “minor Cubists,” a categorization that must have come as a great shock to the veterans of one of the great avant-garde skirmishs.
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Dr. Jeanne S. M. Willette and Art History Unstuffed. Thank you.